Performed by Shanghai Ballet at Queensland Performing Arts Centre, The Lady of the Camellias is an adaptation of the book by Alexandre Dumas. Published late in the nineteenth century, it was the inspiration for the opera, La Traviata and Moulin Rouge! (film and musical).
Shanghai Ballet’s poignant production captures the essence of the storyline: an extraordinary tale of love, loss, death and redemption. An exquisite tragedy.
The heroine, Marguerite Gaultier, (danced by Qi Bingxue) is a beautiful, Parisian courtesan. Her overtly extravagant lifestyle is funded by her adoring, wealthy clients. Without them, her lifestyle is impossible. This becomes painfully obvious at the end as her brief life ebbs away far too soon.
Following the storyline of the book, the ballet opens with the bustling sale of the contents of Marguerite’s apartment. Before our eyes get the opportunity to feast on the lush, French furnishings, items begin to vanish as buyers carry them away. The creditors have closed in.
As the room empties, we realise that the well-attended sale is taking place within the context of a deathbed scene. A young woman, Marguerite is dying of consumption aged just twenty-three. Her rich lovers are gone. Only a loyal servant girl remains to nurse her.
Time rewinds and the narrative unfolds. Having recently read the book, I was able to follow and anticipate unfurling events.
Marguerite Gaultier, envied by women, coveted by men, is the toast of Paris. Despite her youth, she is already surrounded by luxury: an apartment, expensive gowns, jewellery, and her own pretty horses and carriage.
Her female companion is Prudence (Fan Xiaofang), a former courtesan who has made herself useful. In return, she draws upon Marguerite’s steady income to feather her own nest.
Marguerite even has her own box at the opera where she is regularly seen with her candy and camelias. Frequently enjoying the lavish, VIP privileges, Prudence is often seated beside her. It is at the opera that handsome, young Armand (Wu Husheng) becomes acquainted with Marguerite and falls in love
Despite high hopes and youthful dreams, their relationship is doomed from the outset. Armand is a man of moderate means. His income cannot sustain Marguerite in the style to which she has become accustomed.
The happiest time in their lives is during a move to the French countryside which Armand naively believes is forever. He doesn’t realise that funds are diminishing rapidly and the visits by Prudence are to obtain valuables to sell. Ultimately, the horses and carriage also vanish.
Choreographed by Derek Deane OBE, the story feels a bit slow after the sale with which the ballet commences. I was assisted by my familiarity with the story as written in the book.
The gowns are gorgeous, and the choreography is nicely executed. The dancers in the company are petite. Their steps are tiny. Every move has a bird like delicacy. Deane was Artistic Director of Shanghai Ballet when he wrote this work. Score is by Carl Davis.
The second half of the performance is powerful. When the curtain rose on a sumptuous scene, there was an audible gasp of admiration from the audience. The gowns were even more gorgeous, and the setting looked positively regal. In contrast, the lovers endure inexplicable anguish.
Armand believing himself to be callously abandoned by the woman he thought truly loved him, is intent upon a public pretence of indifference. He finds a new courtesan in Olympe (Zhad Meici).
As he flaunts his ‘affection’ for his new mistress, Armand is ignorant of the undeserved pain he is inflicting upon Marguerite. He is oblivious that it is his own father (Ivan Gil-Ortega) who has instigated all the suffering.
His father has paid a secret visit to Marguerite. He is anxious that word of his son’s lifestyle will reach the ears of his innocent daughter’s suitor and ruin her perfect match. Ironically, Marguerite’s seemingly callous actions are born out of the noblest of motives: love.
Tragically, there is no way around the dilemma. Marguerite’s occupation and financial depletion are irreversible. In addition, she is rapidly succumbing to her disease. Her death occurs during Armand’s travels abroad.
Marguerite’s final moments as poignantly portrayed by Shanghai Ballet are heart wrenching. The Lady of the Camellias is a beautiful ballet, a tragedy reminiscent of Romeo and Juliet.
The Lady of the Camellias
Lyric Theatre – QPAC, Cultural Precinct, Corner Grey and Melbourne Streets, South Bank (Brisbane)
Performance: Thursday 5 December 2024
Season continues to 8 December 2024
Bookings: www.qpac.com.au
For more information, visit: www.queenslandballet.com.au for details.
Images: Artists of the Shanghai Ballet in The Lady of the Camellias (supplied)
Review: Michele-Rose Boylan